Ru Guo wants to learn poetry Kung Fu outside the poem (Epilogue)
——" Yi Poetry Museum" interview with Puchi Daling
Yi Poetry Museum: As a nation of poetry, the fate of the Yi people and poetry is innate, so where is your poetic journey and origin?
Puchidaling: Thanks to my mother tongue, I grew up living in the world of poetry, through the poetic discourse of the Yi priest Bi Mo who went from village to village; thanks to Mao Zedong, I had the opportunity to break into the chinese characters from an early age, and drift and practice with the rhyme of Tang and Song poems. It is this "mixed-race" cultural factor that makes my veins become the pasture for pasting the poetry of Yi Gen, and the heaven in which my head generates poetry. The life of Southwest University for Nationalities has allowed me to learn from Jidi Maga, Aku Wuwu, Asuriyuer, Kyashev, Ma Xiaohe and other teachers and brothers that literary creation must have: the character of being indifferent to the world and being a low-key person has made me use it for a lifetime. When I had the honor of entering the Chinese Academy of Social Sciences, the highest academic hall in China, the "Forest Law" of the Royal Academy of China taught me the survival philosophy and life belief of left-handed scholarship and right-handed poetry, which made my life full and strong.
Yi Poetry Museum: How do you deal with the relationship between work, life and your poetry writing?
Pushkaring: The individual's poetry writing and the law of life is the process of defeating one's own enemies. As a human being, being able to walk upright and think independently is a prerequisite for people. Sartre said earlier, "Man is hell." But it seems to me that the ego is the real hell, and the self is the real enemy of the self. The experience of commonality and individuality in life has taught me that overcoming and overcoming one's enemies makes any other encounter and choice simple.
Yi Poetry Museum: What was the original intention of your poems? Since the 1990s, people have shouted that "poetry is dead", what do you think of this pessimistic attitude?
Pushida: Everything has a source and a flow. The starting point is the source, and the process is the flow. Man should have faith, he should live and grow old in faith. For me, in addition to the roots of the Yi people, poetry is my belief in not dying. As a people of poetry, what could be more free, frank, and blessed than this happy writing? Someone shouts "poetry is dead", is poetry really "dead"? This kind of nonsense that fools human wisdom has been played countless times from ancient times to the present. Some people also say that "God is dead", doesn't God also shine a candle on the sky of human faith? It's simple: faith is the reason to live, and for those who don't, God was never born, much less death, and the same is true of the life of poetry. Remember this quote from British Prime Minister Winston Churchill, the only British Prime Minister in the world to win the Nobel Prize in Literature: "I would rather lose the whole of India than a Shakespeare." ”
Yi Poetry Museum: In poetry writing, what kind of themes can most arouse your interest? For example: regional, ethnic, or epochal. Why did you make such a tendency to write poetry?
Pushidaling: The land, the land under my feet that gave birth to me and raised me is the theme of the immortal poetry that God gave me: all my thoughts, including all my joys and sorrows, are born from this land and the agility of the people and things living in the land, and the land under my feet makes my poetry take root. Flipping through it, opening and closing it with my bare hands, and then falling into long-term thinking has become my constant habit of reading it. Standing on this land, the lonely wine glass will hatch my pain and thoughts, and the sun-drenched mountains will calcinate the bones and spirituality of my poems. I believe that a writer who is good at thinking, the creative pain and mental process behind his words, will make his poetry shine with philosophical light. The richer a person's aesthetic or aesthetic experience, the more firm his creative interest is, and the more his creation can surpass himself, establish his own creative personality, and let the words stand up in thinking. As a poet, no matter what perspective you take (including regional, ethnic, or contemporary) to cut into everything in this land, as long as you have love in your heart, there is love in the pen, heart-rending pain and long-distance aesthetic journey will make you a strong and powerful personalized poet. I still have that sentence: poetry is the voice of the heart, and the text is like its person. The most important quality of poetry is the root of the soul, and the most important strength of poetry is the experience of life. Every a priori is in it, and has nothing to do with the division and definition of formatting.
Yi Poetry Museum: In poetry creation, how do you understand the phrase "the national is also the world"?
Pushdalen: There are often many uncertainties in human cognition of things. It is the existence of these uncertain factors that makes some human thinking slowly approach the truth. The reason why "national, but also the world" is popular because "national" it has a personality of cultural presentation and expression, has become a common aesthetic need of mankind. If this cultural identity is placed in poetry, I believe that the text presented is also cosmopolitan. Poetry is not only the hidden symbol and voice of individual life, but also the mental picture or soul illusion of a nation. I think that the interdependence of different nationalities and cultures can breed the soil of poetry full of individuality and vitality, and create an inexhaustible human epic that is "national and also the world".
Yi Poetry Museum: Do you often love to read? What are the main works in your bookcase?
Pushidaling: Reading books, such as dressing and eating, is an ordinary and important detail in my life. The influence of reading on a person is reflected in the mind and intellect, and a person's attitude toward reading determines his degree of civilization and the wisdom that he may attain. In other words, the height and influence that reading and thinking can achieve on a writer's work may not be direct, but it is certainly decisive. For a writer, if he has time to read, to think and feel, then the core of the text he presents will be full of spirituality, and his language must be readable and full. Like to read and will read should be a qualitative difference, reading should have a choice, choose the right book to read that is the most important, I do not like to repeat in low-level texts, I like to read with thought, wisdom and life experience of the feeling, there is a case, let people beat the shining language. For example, the famous Chilean poet Neruda likes the language: "When the beautiful leaves are gone, the veins of life are visible." The largest collection of books in my collection is not literature, but the literature and historical books of Yi studies that are most needed for my academic research, followed by the world's national culture and philosophy. The all-encompassing history of the Yi scriptures is like an encyclopedia of human development and progress, which always illuminates my academic vision and cultural cognition. Books on the history and culture of the world's nationalities allowed me to see the importance and contribution of a multicultural world to human civilization, while philosophical books allowed me to learn to understand and discern the essence of things and the coordinates of life in life.
Yi Poetry Museum: What are the main poems that have influenced your writing? Of the literary books you've read, which ten do you think are the most worth reading? What's the reason?
Puchidaling: In addition to ancient rhyming poems such as Tang and Song poems, my favorite poems include: Pablo Neruda's "Spain in My Heart" and "Love Poems, Lamentations, Hymns"; Tagore's "Jitanjali", "Crescent Moon Collection" and "Flying Bird Collection"; Walter Whitman's "Grass Leaf Collection"; Lobsang Renqing Cangyang Gyatso's "Cangyang Gyatso Love Songs"; Yi heroic epic "Zhige Aaron" and love poem "Mother's Daughter". They give me the strength of life and the cognitive reference of human nature, making me lie in the wine glass of poetry and poetically happy, learn to be grateful and happy.
Among the literary books I have sat on, the text worth reading is: The first: Zhuang Zhou's "South China Classic". It has brought me more wisdom and joy than all the readings of the past and the present. The second: Thoreau's Walden. This is a silent book that restores humanity's reverence for natural morality and allows you to see the brilliance of gemstones; the third: Shen Congwen's "Border City". The most innocent songs sung by China's border cities: the countryside, human nature, and the natural authenticity of life, have all been sung in this gentle and pure song. Fourth book: Bill Porter's Empty Valley Orchid. It is elegant, noble, and like the ancients; the fifth book: Pedro Paramo by Juan Rulfo. One of the most wonderful diamonds in the history of world literature. Márquez turned his back on it like a stream, and once said that when he saw the first page, he trembled, afraid of dying before reading it; the sixth book: Tao Qian's "Return to the Pastoral Residence". The most beautiful psalm in the world comes from this countryman who likes to drink. So much so that the most outstanding poets after the Wei and Jin dynasties were willing to regard him as their teacher: the sky is not born of pottery, and the eternal night is like a long night; the seventh book: Fabre's "Insects". A diary of observations written by the French about insects, its text is warm and full of the author's love and respect for life; the eighth book: Qing Shao Nayan's "Pillow Grass". A thousand years ago, in the flowing water notes of the talented Japanese woman Kiyo Shao Nayan, you will see ordinary things in the world blossom on the tip of her pen; the ninth book: Calvino's "The Invisible City". A city in the sky: its exquisite beauty, its light beauty, the beauty of fiction, all of which make people breathless; the tenth book: Ajan's "Leaves of Landscape and Water". A hermit painter's grass and wood text, it exhibits the mountains, rays, flowers, clouds, moonlight, wind, flowing water, birdsong of the four seasons in a day's time, as if bright silk slowly spreads out the beauty of the top secret nature on the moonlit night.
Yi Poetry Museum: Regarding the outstanding poems and poets that have emerged in the domestic poetry scene, what are your feelings or inspirations about this?
Puchidaling: Under the destruction of such a large, decaying, and rigid education system in China, I am neither worried nor desperate about the fate of poetry. Poets are not trained, for the simple reason that in any age there are wild beasts, and there are always geniuses born. Poetry does not give up any genius in advance, it is gold and it always shines. Just as anyone has the right to worship the Muse, but the Muse himself is not a democrat, and only by actually entering the house can he get a glimpse of her true face. If a reader or critic has a discerning eye, he will be able to recognize the ragged prince of poetry who has come from far and wide in the crowd. For the exploration of poetry art, many people shout and run in a wild way, and some "deliberately" carve the tombstones of them (their) with suicide or lying on the tracks to engrave the "top wear" of the terminators of Chinese poetry art, as if they can walk in the forefront of the times with a pioneering attitude to prove that they are China's first, and they want to know that such a "utilitarian commodity" wholesale, the end after calm is covered and buried by the dust of the years. The world of Chinese poetry or Chinese poetry requires a lot of genius, but often mediocre people also want to be immortal, just as when Byron found himself, there were more than 80 people in his time who thought they were already the first poets in the world.
Yi Poetry Museum: Yi modern and contemporary poets flock out, do you think this phenomenon is good or bad?
Pushidaling: More people write poetry than nothing. According to incomplete statistics, there are currently 3 million people writing poems on the Internet in China, and in this era of mixed oil and poetry, the number and quality of poets are just inversely proportional. This is the worst era of Chinese poetry environment, and it is also the best era. For the environment of modern and contemporary poetry creation of the Yi people, it is also faced with such a poetic environment. In such a mixed river of poetry, what kind of fish, what kind of shrimp may break out of the net, jump away from the pond, and act as a poetry killer or a poet on the highway. Can I hope that poets will be braver, more withdrawn, more adventurous, more self-sufficient? Very wishful thinking, whether it is good or bad, I think the Yi poets have a paper evaluation standard in their hearts, the most important thing is what position and height are the standards and levels of your evaluation engraved, which is a fact that is difficult to answer and has to face.
Yi Poetry Museum: What do you think are the advantages and disadvantages of contemporary Yi poetry?
Puchidaling: Yi writers and poets are indispensable as an important component of China's 56 ethnic writer groups. Ancient, thick and brilliant are the cultural characteristics inherent in the Yi people, an ancient tribe that inhabits the territory of the Great Southwest. These thick cultural characteristics have always been reflected and empirically demonstrated in the creation of Yi poets or writers, and have been highlighted in the works of writers and poets, which is a good creative aesthetic activity, national culture and poetry traditions have been maintained and inherited, and the root culture of the Yi people has been disseminated. However, if a national writer always sticks to the traditional culture and the materials of folk literature left by the ancestors, lacks the original works of Yi literature, and cannot find the convergence point between national cultural elements and modern literary creation, it is difficult to make a big improvement. For the works of Yi writers, paying attention to tradition is as important as paying attention to the theme of the survival of the Current Yi people, and paying attention to regional culture is equally indispensable as the creation of people's livelihood and human nature in mind.
Yi Poetry Museum: Do you think that modern and contemporary Yi poetry is the best representative or symbol of Yi literature?
Puchidaling: The literary form of existence in any era has its own background, conditions and reasons for its existence. The Yi people are a people with a long tradition of poetry, and the achievements of ancient Yi literature, especially poetry art and poetry theory, are not lower than those of Han literature theory. As far back as the Southern and Northern Dynasties, in today's Hezhang County, Guizhou, the female poet Amaini created a complete system of "Yi Poetry Law". This is a masterpiece that is enough to make it difficult for Han poets to look back. In the book, she clearly put forward "poetic bones", "thick ink depicts things, heavy painting of the heart spectrum"; "to write people alive", "knowledge is the main bone". And so on, which is still a very instructive poetic proposition to this day. Fortunately, as a nation of poetry, the poetic flow and poetic factors of the Yi people have been passed down from generation to generation in the descendants of this ancient nation. The achievements of ancient Yi literature and art also represented the high level at that time. And for such a proposition as modern and contemporary Yi literature and art, just like a stone cannot sit in the sky, the best modern and contemporary Yi literary and artistic works, including poetic achievements, can never become classics or symbols of Yi literary history, and can only be said to be gradually approaching perfection.
Yi Poetry Museum: As a Yi poet, how far away is your mother tongue and writing from you? Are you worried about the crisis of your culture, including the survival of the written language?
Puchidaling: When it comes to the Yi people and their mother tongue, I am blessed. I can speak fluent Yi, understand the traditional Yi script and standardize the new Yi script as old as the oracle bone script, and use it to knock out the historical code of the southwest ethnic origin and Chinese civilization carried by the ancient Yi script. I can also beat my scrawled Mandarin Chinese with a variety of fluent Yi dialects. In the twenty-first century, when economic globalization has become a development trend and the tide of flood beasts is devouring the civilization of marginal tribes, it is natural that culture is endangered, language is endangered, and even the Yi script is endangered. Except for God, people will die, and the principle of thirty years of Hedong and thirty years of Hexi tells us that no nation or culture can live forever. What we can do or try to do is to find a breakthrough outlet for the maintenance and preservation of national culture under the siege of strong culture.
Yi Poetry Museum: How much do you know about Yi native language poetry and native language poets?
Puchida Ridge: "The hearty consonants of their native language trembling, their limbs stretched out with tears in their eyes, all joy and sorrow, will tear open the chest like fire" (excerpt from "The Fire Pond Rises from the Wrinkles of snow"). In my heart, I am born with my mother tongue, and my mother tongue is full of brilliance. As a Yi person, the first thing you see when you come into the world is not necessarily your parents but the fire of hope. Because there are only two most important rituals of life and death for the Yi people in their lives: they are born in the light of the fire, and then they return to their ancestors in the torch. But to complete these two important rituals in life, only my native language cannot be abandoned. The great mother tongue is an important recipe for the production of immortal poems, and my teacher is also my friend, the Yi native language poet Aku Wuwu and his "Summoning souls" are the mother tongues that inspire the gods to surrender to heaven, even in Chinese poetry, it is difficult to find an enemy that can be matched. For my mother tongue, I am still faithfully alive!
Yi Poetry Museum: How much do you know about yi modern and contemporary poetry writing? What do you think of the creation of modern and contemporary Yi poetry? If you could recommend excellent poets, which ten modern and contemporary Yi poets would you recommend?
Puchidaling: Except for me, who has a comprehensive understanding of Yi modern and contemporary poetry writing, there may be the first, but there will not be a third. It can be said that I know the genealogy of modern and contemporary poetry creation of the Yi people very well. Standing on a high place, I can clearly see the sitting posture and direction of each mountain of Yi modern and contemporary poetry. There are many outstanding poets and poets of the Yi people in contemporary times, but there are not a few mediocre poets. In my opinion, the difference between people who like to write poetry and good poets and good works is not only a matter of vision, height and cultural aesthetics, but more importantly, the problem of knowledge and ability, not everyone can write "Sunshine Mountains", because behind the poetry, quality and cultivation are the basic forces of poetry creation, whether they can write, rely on spirituality, whether they can write for a long time, write masterpieces, rely on ability quality and knowledge cultivation, understand the Yi culture does not necessarily have the ability to control cultural knowledge. Such examples, especially in the creation of modern and contemporary Yi poetry, have become a common disease of mutual infection. In Buddhism, there are thousands of teachings, and everyone has his threshold. In this regard, Voltaire has a good saying: "All kinds of literature are good, except for the tedious one." As for the boring ones, I can't give examples, because they will offend hundreds of Yi "famous" poets, as well as some poetry critics who call themselves "famous.".
Yi Poetry Museum: How do you communicate with poets? Do you have your own independent poetry circle? Do you regularly attend poetry-related events?
Pushdale: Carelessness and insincerity are the biggest obstacles to communicating with people. If you fool a poet with deceptive communication tricks, even if you have a bone or a meat bun in your hand, I don't think even a dog will pay attention to you. I am most afraid of those self-defining, self-reliant activities, so there is no circle to mix. Poetry activities are actually very good things, but in the past 10 years, various poetry activities in China are not to walk the "heart", but to take the "kidney". The "kidney" movement has become synonymous with the various poetic activities in the country, and it has degenerated into a vulgar green building, and I never intended to patronize it.
Yi Poetry Museum: Poetry has genres or circles, what do you think is the difference between folk writing and intellectual writing? What do you think of the circle of "modern Yi poetry groups"?
Pushkaring: In my opinion, there is no distinction between folk writing and intellectual writing. There is only good writing and bad writing, there is no folk writing, or intellectual writing, it never existed. Officially, they are all non-governmental, and for the common people, they are all intellectuals. With such an artificial coffin distinction, there is no way out for poetry. Because what we end up seeing will not be art, but dark, ugly, complex human nature. I hope that this perspective is a little less good, less divided into Chu River and Han boundaries, and less willful and stupid. In this way, the sky of Chinese poets will be more open and bright. You asked about the "modern poetry group of the Yi people", in fact, my answer is in the face, although this answer is not the only one.
Yi Poetry Museum: Can you talk about the topic of female poets of the Yi nationality?
Puchidaling: What is not to say, the woman is a tigress, but it is certain that the Female Poet of the Yi ethnic group who writes poetry can never become a tigress who eats Puchidaling. Pu Songling said that women are all white foxes, the most attractive goblins in the world. I think that if there are no goblins in the Yi modern and contemporary poetry creation group, it will not mean anything if only the sun and not the moon come out of the sky. Just as the Tang Dynasty lacked Li Bai, the sky of the entire Tang Dynasty was eclipsed. Compared with the group of men, the white foxes of the Yi people who write poetry are pitifully few, but some of them have surprised my reading. Such as the early Ba mo Qu Bu Yan and Lu Qin, after the 80s Lu Juan, Ji Ke Bu, Yunnan Shi Lixin and so on. What is their status in the Chinese poetry scene, I don't know, I don't care, what is the poetry world? Vanity Fair? Mysterious hell? A hub for conspirators? It's not for real Yi female writers.
Yi Poetry Museum: Any poetry writing actually has no comparative value and significance, but if you were asked to evaluate the current development of yi modern poetry in Yunnan, Guizhou, Guangxi, and Sichuan, what kind of ranking would you make?
Puchi DaLing: The Yi people have produced poetry talents in ancient and modern times, not stupid materials. If you do not compare them chronologically, Guizhou was the most powerful in ancient times, followed by Yunnan and Sichuan. Compared with the poetry writing power (quality) in the modern and contemporary Yi poet group, objectively speaking, except for Guangxi, it should be like the "Three Kingdoms" to interpret the world.
Yi Poetry Museum: Yi contemporary popular music has a very remarkable achievement in the Chinese music scene, if you compare yi modern poetry with Yi music, do you think that is better?
Pushdalen: I just like it and don't have a say in the music. But since I asked, I'll say two words. In my opinion, in the face of the fast-food Chinese music environment, Yi music does not appear the index we expected, it is not much better. I know the people who make music in China' Yi people, many people are still fighting for their livelihood, where do they have time to read books and study, and improve their musical literacy? But there are exceptions, if the Yi musicians can put their own culture in their hearts, put it in the wine and sing, like Jike Qubu, hide behind the stage and sink down to cultivate new seedlings, like Waqi yihe to create more "Southern Stories", like Ma Yulong's "Sound Fragments" and so on are remarkable. Then it can be said that the Yi concert has hope. Unfortunately, there are too many duckweed-style characters in the Yi music team, and they hang high hats at every turn, what song king, what wine song prince, what lyric prince, the vulgar can't stand it! Before entering the music palace, I want to grab a prince hat and wear it as a king, and I don't think there is such a precedent in music history. If Genghis Khan's old machete was still there, his empire would not allow those mixed "princes" to bend their bows and shoot "eagles." Yi poetry and music have many similarities or similarities, and it is difficult to compete with each other. Regarding Yi music, I am still waiting for high-end music talents like the Mongolian Three Treasures to "save".
Yi Poetry Museum: Please briefly talk about the status of the "Yi Network" as a national website in China at present, and its role in disseminating various information in Yi areas?
Puchidaling: Among the 56 ethnic groups in China, among the 55 real ethnic minorities, there are many ethnic websites. The quality and status of the Yi network, in addition to the "Tibetan network", there is no ethnic minority website that can be compared. As for the domestic and foreign influence of the Yi network, everyone can see it, and it has become the "People's Daily" in the hearts of the Yi people. The Yi people's website chief Huang Pingshan, a young man of the Yi ethnic group, should be awarded the "Yi Cultural Publicity Contribution Award"!
Yi Poetry Museum: What do you think of the various poetry awards that are currently numerous? Where is the value?
Pushkaring: Poets should have dignity, poetry should have rewards, otherwise poets have no hope. A Nobel can easily make people despair. Without Nobel, the poets of antiquity still wrote poetry and lived. But my hope is that in this era when there are more poetry awards than poets, there will be fewer shady scenes, more aesthetic heights, and more prize money. The one- or two-thousand-dollar prize was not enough to buy a few winter clothes for a few children in remote mountainous areas, and it was not a glorious thing to slap poetry.
Yi Poetry Museum: How would you like critics to interpret your poems and the modern poetry of the Yi people as a whole, or what would you like critics to do for poets?
Pushdalen: Criticism doesn't mean always hitting. Often, on the contrary, the role it should often assume is motivation, and we know that talent is motivated. But motivation is about letting people see dreams, not about going a person crazy. However, at present, individual poetry critics of the Yi ethnic group have kitsch praise, headless and brainless exaggeration, wearing top hats and other phenomena, which is very bad and bad momentum! I want to move away from objectivity criticism and praise man as perfectly as God, destroying not only the poet himself, but also the future of Yi poetry and poetry criticism. The real Yi poets do not need to inexplicably praise him or her overnight as a poetry master or a titan in the mode of commentary, all they need is to use objective critical ability to interpret the poet's text Chinese the life and aesthetic concept of the spirit dance, and present it insufficiently. I also don't want to see that as a poetry critic, I can't even read the direction of the text, and even the Expression of Chinese characters is not smooth, so I comment on the poet's poems. I think a true poet or critic should follow the morality of rhetoric, not like a secular dog skin plaster, labeling everywhere, and not thinking of himself as a male lion patrolling the territory, without choosing to identify his own smell.
Yi Poetry Museum: If you had to choose again, would you rather live in the city or in the countryside?
Puchida Ridge: Born as a mountain man, died as a mountain ghost. Born in the mountains, the mountains are my starting point and my thick dependence.
Yi Poetry Museum: Last question, what do you think is the core of Yi culture? What is the core of the Yi spirit?
Puchidaling: In my opinion, there are many cultural domains in the core of the Yi people, but in short, I think the core of the Yi culture is: ancestor worship centered on the genealogy of father and son, the service form of the Bimo ritual, and the living culture of the Yi people with language, writing and calendar as the link. Under the value system of this core culture, the core of the Yi spirit is the survival style of "self-reliance, tolerance, faithfulness and self-improvement" under the premise of national identity.
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PuchiDa Ling, Chinese name Pu Zhongliang. Born in November 1970 in Yunlong Township, Luxun County, at the foot of the Huoqi Luoni Mountain, in a Yi village named Pu Zhangkang. Graduated from the Department of Ethnic Literature of Southwest University for Nationalities in 1993, he is now an associate professor at the Institute of Ethnology and Anthropology of the Chinese Academy of Social Sciences, an associate editor of the journal "Ethnic Languages", a well-known academic journal of linguistics at home and abroad, an associate editor of the "Yearbook of Ethnic Studies" of the Chinese Academy of Social Sciences, the editor-in-chief of the Yi people's network, and a member of the Chinese Ethnic Minority Writers Society; He is a member of the Chinese Society of Sociolinguistics, the Chinese Ethnic Linguistics Society, and the Chinese Ethnic Minority Bilingual Teaching and Research Association. His research interests include sociolinguistics (cultural linguistics), Tibetan-Burman languages, Yi ancient scripts and their history and culture.
Source: Read West